The objectification of women is a significant concern for several movies set in the previous eras. Through the use of framing devices and framing, directors and storytellers have often positioned female characters as the objects to the story that allows for the development of male protagonists’ personalities. The films Chunhyang and The Road Home are perfect examples of movies where women’s object positions are illustrated through the framing device and framed stories, creating an image of heartbroken and powerless characters waiting for their beloveds.
In Chunhyang, the framing device used is the presence of a modern-day narrator who retells the story of a young woman and her husband, a couple married in defiance of the young man’s father’s wishes. However, Chunhyang, the female protagonist, is portrayed as occupying an object position, as the young woman is forced to wait for her husband to return, remaining bound to her home and the position of a wife (Kwon-taek). Moreover, the story further frames the scenario in which Chunhyang is overwhelmed by the power of the male protagonist, a local governor, who punishes her for refusing him.
A similar use of a framing story is evident in The Road Home, a movie that also represents the story of two lovers. Similar to Chunhyang, The Road Home reveals the hardships that a couple is compelled to endure in order to remain together. However, while the man is required to return to the city, the woman is portrayed as grieving and heartbroken, even waiting in the snow for her beloved’s return (Yimou). Nevertheless, in contrast with Chunhyang, a different framing device is used here: the major story is distinguished by the use of vibrant colors, while the supporting storyline is black and white.
Works Cited
Kwon-taek, I’m. Chunhyang. 2000, CJ Entertainment.
Yimou, Zhang. The Road Home. 1999, Beijing New Picture.